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Create a Game Character: Jouster - part 9

By Adam Fisher
Web: Open Site
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Date Added: 13th August 2013
Software used:
Photoshop, Maya, ZBrush, Misc

Step 3: Texture the face

In Photoshop, set up the base colors and bakes group with the Ambient Occlusion map, like in the previous part. Create a new group above the base colors group called "Skin" with a layer mask, masking all of the skin areas.

Begin by blocking in some saturated red tones around the cheeks, nose and lips, some blue tones around the jaw line and under the eyes, and some yellow tones over the forehead, cheeks and mouth. Adjust the layer opacity so that the tones are subtly noticeable.

With a scattering, pore-type brush, begin painting some skin tones to add some more variation and some blemishes. To add some texture, create a new layer and fill it with gray. Apply a monochromatic noise filter (Filter > Noise > Add Noise) and apply a soft Gaussian Blur (Filter > Blur > Gaussian Blur). Set the layer blending mode to Overlay and the opacity low. Paint in some eyebrows with a small, Hard Round brush and add some eye make-up to the texture.

1771_tid_09-03.jpg

Pro tip: Tinted AO

When texturing skin, adjusting the color of the ambient occlusion can give the skin a more natural feel. I like to use a Gradient map, but a Hue/Saturation could also be used. Create a Gradient map and clip it to the Ambient Occlusion layer. Apply a mask to the Gradient map so it only applies to the skin parts of the Occlusion map. Adjust the Gradient map so that the dark parts of the occlusion are a more dark brown/red tone.

1771_tid_09-tip.jpg

Step 4: Create the eyes

For the eyes I've added a small alpha strip that sits above the eye geometry, which is used to fake the Ambient Occlusion. There is some Ambient Occlusion that is applied to the outer areas of the eye texture, but the occlusion strip helps to 'ground' the eye into the eye socket.

When creating the iris, use some texture reference as a base and begin blocking in the overall tones on top. With a small brush, create some varied strokes radiating out from the pupil. Add some small flecks of color variation and to add depth, make the upper half of iris slightly darker and the lower half slightly lighter.

For the sclera, use a dull, off-white color and avoid using bright white, as this can make the eye look unnatural. Add some small reddish veins to the sclera, but be careful not to overdo it!

1771_tid_09-04.jpg

Step 5: Texture the hair

In Marmoset, the Alpha channel of the Diffuse map is used to control transparency. To create the hair alpha create a new group called "Alpha" and using a white, hard-edged brush, begin to paint the hair strand clumps. Once you've painted the hair strands, copy them to the Alpha channel and test how it looks in Marmoset.

To paint the Diffuse texture for the hair, block in some colors or use some photo reference as a base. Paint some larger clumps of hair, alternating between dark and light shades of the base tones.

Next, add in some thinner strands of hair. For this hair, I decide to add in some extra light and shade; to do this, create a new layer on top and set the layer to Soft Light. Using a large Soft brush, paint using black and white to add some highlights and shadow. Once the hair is complete, use nDo2 (or similar) to create the Normal map for the hair using the diffuse texture.

1771_tid_09-05.jpg

Step 6: Specular and Gloss maps

Creating the Specular and Gloss maps is the same process as with the armor. For the skin we want to give it a blue shade. This can be done by inverting the color information or using a Hue/Saturation adjustment layer. Use a Levels adjustment layer to increase the contrast in the skin details. Increase the lightness on the lips, the eyelids and tip of the nose for both the Specular and Gloss maps.

1771_tid_09-06.jpg

1771_tid_adam_fisher.jpg
Click HERE to see the next part in this series.

Click HERE to see the previous part in this series.

Want to start from the beginning? Click HERE to see the first part in this series.




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